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Jones, Rita A. "Developing High School Students' Ability to Write about their Art through the Use of Art Criticism Practices in Sketchbooks: A Case Study." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1213056907.
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Banas, Patricia Marie. "Class participation of secondary students and daily art history test scores improved when students used write-on response cards." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392108242.
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Martinetti, Sara. "« I never Write, I Just Do » : pratiques de l’écrit et enjeux théoriques du travail de Seth Siegelaub dans l’art conceptuel, le militantisme et l’érudition." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0051.
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Seth Siegelaub (1941, New York-2013, Bâle) est une figure majeure, connue des historiens de l’art pour avoir de manière séminale renouvelé les modalités d’exposition, de présentation et de distribution des œuvres conceptuelles. La carrière de celui qui a été considéré comme l’impresario zélé de quatre artistes (Robert Barry, Joseph Kosuth, Douglas Huebler [1924-1997], Lawrence Weiner) ne s’arrête pas en 1972, date qui marque son départ de l’art et qui aurait confirmé l’« échec » des luttes politiques d’une génération. Le dropout de Siegelaub – se revendiquant comme « not an artist » mais opérant au cœur du dispositif – serait-il une reconversion des savoir-agir conceptuels ?L’approche anthropologique de l’écrit dans lequel Siegelaub est puissamment investi permet de suivre un parcours de vie séquencé en trois « sphères d’activité » : l’art, le militantisme et l’érudition. Des entretiens avec notre personnage principal ainsi qu’avec ses collaborateurs, la consultation de l’ensemble de son fonds et des projets de valorisation nous ont permis d’en analyser les enjeux respectifs. La première sphère nous amène à découvrir l’art conceptuel comme une littératie qui étend de manière inédite les usages quotidiens de l’écrit. La deuxième fait émerger le centre de documentation militant comme forme politique de résistance au capitalisme et de transformation sociale. La troisième, par un intérêt parallèle pour le textile, révèle une appropriation personnelle de la bibliographie. Siegelaub ne change pas du tout au tout d’activité mais se déplace entre différents mondes sociaux polarisés en mettant en résonance des pratiques et en construisant des réseaux grâce à l’écrit. En 1969, Siegelaub affirme : « Je ne suis pas un écrivain – je n’écris jamais, j’agis ». Son rapport à l’écrit est complexe, alors même qu’il n’a presque rien « écrit », au sens littéraire, théorique ou journalistique où on l’entend généralement. Qu’a fait Siegelaub avec l’écrit ? Dans quelle mesure les écrits ont-ils permis à cet editor, publisher, documentaliste, bibliographe et collectionneur d’agir ? Il a multiplié les écrits typiques comme le catalogue-exposition, le contrat ainsi que la bibliographie et, dans certains cas, en a renversé les usages à 180 degrés. Le parcours de Siegelaub touche à des enjeux théoriques puisque chaque domaine où il a été actif a produit un point de vue « local ». Les artistes conceptuels se sont intéressés au langage et ont utilisé le document pour tenir des positions critiques par rapport aux œuvres ; Armand Mattelart, chercheur critique ayant collaboré avec Siegelaub, a montré que les médias jouent un rôle essentiel dans la lutte des classes ; le savant graphomane François-Xavier Michel (1809-1897) a été précurseur d’une approche sociale de l’histoire des textiles. Le parcours de Siegelaub permet de considérer ensemble des idées sur l’écrit qui s’élaborent dans différentes disciplines et qui n’ont jamais été pensées dans leurs articulations<br>Seth Siegelaub (1941, New York–2013, Basel) is a major figure in the history of art known to scholars for his seminal role in the exhibition, presentation and distribution of Conceptual Art. Often described as the shrewd impresario of four artists (Robert Barry, Joseph Kosuth, Douglas Huebler and Lawrence Weiner), his career seems to stop in 1972 when he turns his back on the art world, thereby seemingly confirming the failure of the political struggle of a whole generation. But what if this dropout—by a man who claimed he was “not an artist,” yet operated at the heart of the system—coincided with a translation of the conceptual methodology into other fields?An anthropological approach of Siegelaub’s expansive and varied writing activities allows us to retrace his career according to three “spheres of activity”: art, activism, and erudition. By conducting numerous interviews with the main protagonist and his collaborators, and consulting his extensive archives, we have been able to explore the key issues respective to each of these spheres. Siegelaub’s first sphere of activity encourages us to consider Conceptual Art as a literacy that expanded the everyday uses of writing in a hitherto unprecedented way. The second sphere shows the documentation center as a means of political resistance to capitalism and social transformation, and the third, via its parallel interest in textiles, reveals Siegelaub’s personal appropriation of the bibliography. Siegelaub does not so much change activities as move between polarized social worlds, whose practices and networks he interconnects via his writing.In 1969, he stated: “I am not a writer—I never write, I just do.” His relationship to writing is complex, all the more so as he has hardly “written” in the literal, theoretical, or journalistic sense. What did Siegelaub do with writing? To what extent did it enable the editor, publisher, documentalist, bibliographer and collector to act? Siegelaub experimented with various kinds of writings such as the exhibition-as-catalogue, the contract, or the bibliography, in some cases even reversing their purpose or function. His career touched on numerous theoretical problems, each domain in which he was active producing a “local” point of view: the Conceptual artists were interested in language and used documents to critique the work of art; Armand Mattelart, a leading sociologist who collaborated with Siegelaub, clarified the role of mass media in class struggles; and the nineteenth-century erudite scholar François-Xavier Michel pioneered a social approach to the history of textiles. Siegelaub’s career makes it possible to bring together various conceptions of writing developed across different disciplines, which had never been considered in terms of their reciprocal influences
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Phillips, Laura J. "The Write Way to Act." Youngstown State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1433594247.
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Carroll, Emma Louise. "Faith and art : Elizabeth Gaskell as a Unitarian writer." Thesis, University of Birmingham, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502285.
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McWilliams, John Harry. "'Who would write?' : Andrew Marvell and the act of writing." Thesis, University of Bristol, 2003. http://hdl.handle.net/1983/1ad58693-966d-4325-a819-68541af908ac.
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Lindh, E. Mattias. "Bilayer Light-Emitting Electrochemical Cells for Signage and Lighting Applications." Licentiate thesis, Umeå universitet, Institutionen för fysik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-114500.
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Artificial light surrounds us in a manifold of shapes. It is mainly utilized for illumination, but also for graphical communication of complex and evolving messages and information, among other things. It can be generated in different ways with incandescent lamps and fluorescent tubes constituting two common examples. Organic solid state light-generation technologies, which boast advantages such as solution processability, thin and flexible form factors, and large versatility, are modern additions to the field. But regardless of the means of generation, whenever light is to be used to communicate information, as signage or displays, it needs to be patterned. Unfortunately patterning is often complicated and expensive from a fabrication point of view, or renders the devices inefficient. To bridge the gap between present technologies and the need for low-cost and low-complexity patterned light emitters, it is important to develop new device architectures and/or fabrication procedures. In this thesis we show that patterned light emission can be attained from solution processable bilayer light-emitting electrochemical cells (LECs), in which the bilayer stack comprises an electrolyte and an organic semiconductor as the first and second layer, respectively. We investigate a subtractive direct-write approach, in which electrolyte is displaced and patterned by the contact motion of a thin stylus, as well as an additive inkjet-patterning technique. Both result in electroluminescent patterns, e.g., light-emitting sketches and microscopic signage with high pixel density. But they can also build macroscopic patterned regions with homogeneous emission depending on the design of electrolyte features. Using an in-operando optical microscopy study we have investigated the operational physics and some limiting factors of the bilayer LECs. More specifically we find that the electrolyte film homogeneity is a key property for high optical quality, and that the emitting region is defined by the location of the interfaces between electrolyte, anode, and organic semiconductor. We observe that the cationic diffusion length is less than one micrometer in our employed organic semiconductors, and rationalize the localized emission by cationic electric double-layer formation at the cathode, and the electronically insulating electrolyte at the anode. To date, the presented luminescent signage devices feature high-resolution patterns, in both pixelated and line-art form, and show great robustness in terms of fabrication and material compatibility. Being LECs, they have the potential for truly low-cost solution processing, which opens up for new applications and implementations. However, these first reports on patterned bilayer LECs leave plenty of room for improvements of the optical and electronic characteristics. For instance, if the optoelectronic properties of the devices were better understood, a rational design of microscopic electrolyte features could provide for both more efficient LECs, and for more homogeneous light emission from the patterned regions.
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Sedlmayr, Gerold. "Brendan Kennelly's literary works : the developing art of an Irish writer, 1959-2000 /." Lewiston : the E. Mellen press, 2005. http://catalogue.bnf.fr/ark:/12148/cb40066548j.
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Campos, Tiago Gabriel Oliveira. "Internship report : 9 months as a medical writer at ARC publishing." Master's thesis, Universidade de Aveiro, 2013. http://hdl.handle.net/10773/11494.
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Mestrado em Biomedicina Farmacêutica<br>Este trabalho apresenta uma experiência de estágio curricular com a duração de 9 meses, desenvolvido na ARC Publishing, uma empresa que opera nos ramos da comunicação e publicação científica.
O estágio curricular foi orientado para a área da redação científica, no entanto, atividades em outras áreas, aqui designadas de atividade multidisciplinar, também foram executadas. A atividade multidisciplinar variou desde atividades relacionadas com o desenvolvimento de negócio e marketing até atividades relacionadas com a gestão editorial de revistas científicas. Já as atividades de redação científica incluíram a redação de artigos de investigação original, traduções de documentação relacionada com a investigação clínica, edição de livros e controlo de qualidade de outros tipos de documentação científica.
Globalmente, este estágio curricular representou um ótimo complemento à minha formação académica. Tive a oportunidade de aprofundar o meu entendimento acerca dos processos envolvidos na produção e na comunicação de conhecimento médico/científico. Descobri novos tópicos de interesse. E, fiquei com uma visão mais ajustada daquilo que é a realidade do mercado de trabalho e das oportunidades disponíveis. Por fim, a junção destes fatores permitiu-me maturar as minhas perspetivas de desenvolvimento de carreia.<br>The present work reports a 9-month curricular training experience developed at ARC Publishing, a company operating in the fields of medical communication and medical publishing.
The training experience was oriented towards the medical writing field, but activities in other fields, here designated as multidisciplinary activity, were also conducted. Multidisciplinary activity ranged from business development and marketing, to editorial management. Whereas medical writing activities included preparation of original research reports, translation of clinical documents, book editing, and quality control of scientific documentation.
Overall, this training period was an excellent complement to my academic education. I advanced my understanding of the processes involved in medical knowledge generation and communication. I discovered new topics of interest. And, I also improved my vision of the real marketplace and the opportunities it poses. Lastly, the combination of all these factors, allowed me to mature my perspectives for future career development.
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Chaffe, Tomas. "The Secret Writer." Thesis, Konstfack, Institutionen för Konst (K), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3980.
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This essay reflects a particular method and way of working that I employ when undertaking artistic research. My artworks are rooted and develop from the situation I find myself in as an artist, the very context I exhibit the work within. I do this by trying to understand this position, both on the micro and macro scale. As an artist currently studying at—and subsequently exhibiting in relation to— Konstfack, I base my research with the physical manifestation of the school. An imposing building that was part of a huge headquarters and factory site for the telecommunication company, Ericsson, in south Stockholm. The title of my essay is from the translation of a unique German cipher machine, the Geheimschreiber, made known to me through enquiry into this site. Throughout the Second World War the German army used this machine to send highly encrypted military messages across Swedish telephone cables. Following one of the greatest accomplishments in the history of cryptography, a Swedish mathematician broke this German code and subsequently assisted in designing a deciphering machine on behalf of the Swedish Intelligence branch. This device, known as the App, was secretly developed and manufactured by Ericsson, possibly where I now study. In exploring the theme of secrets, this essay originates from an underpinning desire and subject of my work to reveal what is concealed or overlooked. Through researching and writing this essay I attempt to have a better understanding on the notion of secrets, in both the private and public realms. Introducing the artistic process and situation I am working from, I explore the central role that secrets play within society. In order to understand secrecy today I introduce the intertwined and associated contemporary debates of privacy, (both private and public) and transparency through such subjects as Google’s new privacy policy, mobile phone hacking, WikiLeaks and offshore banking.
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Lambie, Eileen. "A phenomenological explication of the artistic creative experience of a painter, a writer and a playwright." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004605.
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The aim of the thesis was to explore two focus questions using the phenomenological approach. Firstly, what it meant to be an artist for three particular artists; a painter, a writer and a playwright. Secondly, what a general explicitation (after Van Kaam, 1958) of the three subjects' artistic creative experience and working processes revealed in essence. The taped data of the three artists were reduced and explored through a number of phenomenological strategies. This led to the formulation of four essential descriptions for each artist, which were based structurally on Van den Berg's experiential categories in A Different Existence. Thus, the essential descriptions reflect each artist's relationship with his/her world, body, fellow people and time. The final step was the achievement of a general extended description. The major conclusion arising from the phenomenological explication is that art affords a way through which artists are able to live an authentic existence. That is, the body and world of the artist are in harmony and the artist's art roots him in the past, is manifest in the present and indicates the future direction of his work. Another conclusion is that the artist is Janus-faced and this enables him/her to balance subjectivity and objectivity in the Lebenswelt and to communicate what he/she sees to others in a healthy way through art. The artist's relationship with world, body, fellow people and with time, is postulated as being qualitatively richer than that of the nonartist. The two focus questions were successfully answered through the research explication and were validated by two independent judges. The viability of the phenomenological approach in the field of artistic creativity was therefore demonstrated. Suggestions for future research were made, one of which was that more phenomenological research aimed at eliciting specific information on the creation of art works might render more information on the artistic creative process.
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Zanatta, Laraine Theresa. "The Effects of Hearsee/Say and Hearsee/Write on Acquisition, Generalization and Retention." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2770/.
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This study examines the effects of training in two yoked learning channels (hearsee/say and hearsee/write) on the acquisition, generalization and retention of learning. Four fifth-grade participants were taught the lower-case letters of the Greek alphabet. Twelve letters were taught in the hearsee/say channel and twelve letters taught in the hearsee/write channel for equal amounts of time. The see/say channel reached higher frequencies at the end of training and showed higher acquisition celerations than the see/write channel. However, the see/write channel showed higher accuracy and retention than the see/say channel. The see/write channel also showed greater generalization across learning channels including the see/say, think/say, think/write and see-name/draw-symbol.
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Kamler, Barbara, and edu au jillj@deakin edu au mikewood@deakin edu au wildol@deakin edu au kimg@deakin. "Gender and Genre: A Case Study of a Girl and a Boy Learning to Write." Deakin University. School of Education, 1990. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20041214.164647.
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This study addresses questions of gender and genre in early writing by drawing on systemic linguistic theory, It is a longitudinal case study that compares the writing development of two children, a boy and a girl/ who learned to write in classrooms that adopted an approach to writing known in Australia as 'process writing1, The children's written texts were analysed using the systemic functional grammar as developed by MAK, Hallidey and the models of genre and register as proposed by J,R, Martin.
The children were followed for the first two and a half years of their schooling, from the first day of kindergarten to the middle of grade two. They were observed weekly during the daily writing time and all texts were collected. Although the children were ostensibly 'free to determine both the writing topics and text types they produced, systemic analysis revealed that:
1) the majority of texts written were of one genre, the Observation genre, in which the children reconstructed their personal experience with family and friends and offered an evaluation of it.
2) a significant pattern of gender differences occurred within this genre, such that the boy reconstructed experience in terms of the male cultural stereotype of being an active participant in the world, while the girl reconstructed experience in terms of the female stereotype of being a more passive observer of experience.
It is the strength of systemic linguistic analysis that it revealed how the choices the children made in language were constrained by a number of social and cultural contexts, including: a) the teacher's theoretical orientation to literacy; b) the models of spoken and written language available to the children; and c) the ideology of gender in the culture. In particular, the analysis made visible how children appropriate the meanings of their culture and socialise themselves into gender roles by constructing the ideology of gender in their writing.
The study contributes to an understanding of genres by offering a revised description of the Observation genre, which derives from the Observation Comment genre originally identified by Martin and Rothery (1981). It also raises a number of implications for teacher training and classroom practice, including the need for:
1) increased teacher consciousness about gender and genre, especially an understanding that choices in language are socially constructed
2) a critical reassessment of the notion of 'free topic choice promoted by 'process writing' pedagogy, a practice which may limit choice and tacitly support the gender status quo.
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Zaniboni, Kayla. "An Examination of the actor's approach to playwriting: Are playwrights able to write about what is unfamiliar to them?" Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5728.
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Playwrights write about what is familiar to them. Their inspiration comes from their childhood, past relationships, and their personal view of the world. But could a playwright write about something to which they have no personal connection? Using the book Triggered: A Memoir of Obsessive-Compulsive Disorder, I will write a one act play about mental illness. I have no personal experience or personal connection to mental illness, but I will approach the process the same way as an actor does a character. I will go into the writing process as an actor, completing character analyses for the characters and using the information found within the book. I will direct a reading of my play with the goals of educating the audience about mental illness, evoking empathy for the characters within the piece, and proving that a playwright can write about something that is foreign to them, much like an actor can portray a character that is remarkably different from themselves.<br>M.F.A.<br>Masters<br>Theatre<br>Arts and Humanities<br>Theatre; Acting
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Walker, Ginger. "'The Writing Writes Itself': Deleuzian Desire and the Creative Writing MFA Degree." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4721.
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This post-qualitative inquiry project investigated subjectivity (sense of self) among graduates of creative writing Master of Fine Arts (MFA) programs. The project asked how subjectivity is involved in the creative writing process and how that process fuels further writing after a creative piece (such as the MFA thesis) is completed. A post-qualitative, thinking-with-theory approach was used to explore the role of subjectivity among four anonymous graduates of creative writing MFA programs who provided writing samples describing their creative writing processes. Following the thinking-with-theory approach, the data were analyzed using Deleuze and Guattari’s theory of productive desire. Study findings are presented in two formats. First, a traditional, qualitative presentation of findings describes how unconscious desires develop a beneficial weakening of subjectivity that may encourage creative writers to continue writing after completion of the MFA degree. Next, further findings are presented via a nonlinear, rhizomatic data assemblage. The project concludes with recommendations for the use of Deleuzian productive desire as a pedagogical framework in graduate-level creative writing courses, as well as a call for the consideration of post-qualitative research methods in the field of education.
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Edwards, Bobbie. "The Effects of Tests and Praise on Children's Hear-write and See-say Responses." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5465/.
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Four elementary school children were tested on 120 words containing the short e (e.g., ten, pen) and short a (e.g., tan, pan) sounds. Words were tested in the hear-write (H/W) and see-say (S/S) channels. No programmed consequences were scheduled during baseline (BL) tests 1-3. After BL, an error analysis categorized words based on channel error and topography of error. Praise was delivered during tests 4-6 for correct responses. Children's responses were variable within channel and across channels for a majority of words. By the end of the praise phase, there was a decrease in the number of words with errors, for all children in their error word group. Error topographies began to stabilize for some words during praise.
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Rees, Jacob S. "We Know Better and It's Time to Act Like It: Ending Written Feedback." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3779.
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Researchers have tried to demonstrate the effectiveness of written teacher feedback over the course of the last sixty years, and the results are inconclusive. Many studies point to improvement on subsequent drafts as evidence of student improvement; however, this only indicates students' abilities to follow directions. It is not an indication of autonomous writing ability. This study demonstrates that with proper curriculum support high school students can develop intentional transferability (the autonomous, intentional transferring of writing skills to varied rhetorical situations) throughout the course of one academic year without receiving any teacher written feedback.
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Graves, Margaret Susanna. "Worlds writ small : four studies on miniature architectural forms in the medieval Middle East." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5489.
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While academic discussion of ornament within medieval Islamic art has laboured much over the codification and meaning of certain forms, there has been relatively little research to date on the visual and iconographic function of architecture as ornament in this context. Those few authors that have dealt with this issue have focused overwhelmingly on two-dimensional architectural representations, largely ignoring the considerable body of portable objects from the medieval Middle East that imitate architecture through three-dimensional forms, whether in a mimetically coherent fashion or in a more elliptical or reconfigured manner. This thesis proposes, first and foremost, that there is significant cultural meaning inherent in the use of architecture as an inspiration for the non-essential formal qualities of portable objects from the medieval Islamic world. Through iconographic analysis of the relationships that such objects form with architecture, an understanding of both full-size architecture and its miniature incarnations in the medieval urban context is advanced within the thesis. To maximise the intellectual scope of the study whilst still enabling an in-depth treatment of the material, four discrete studies of different object groups are presented. All of these are thought to date from approximately 1000 to 1350 CE, and to come from the core Middle Eastern territories of Persia, Syria and Egypt. The first chapter examines the glazed ceramic ‘house models’ believed to originate in late or post-Seljuq Persia. The second discusses six-sided ceramic tables from the same milieu, and more numerous related tables produced in Syria during the same period. In the third chapter carved marble jar stands from Cairo, apparently produced from the twelfth century onwards, are analysed. The final chapter, on metalwork, broadens its approach to encompass two very different strains of production: inkwells from Khurasan and incense burners from the breadth of the Middle East. Because much of the thesis focuses on material that has been dramatically understudied, it performs the primary action of compiling examples of each of the object types under study. Though this information is presented as a catalogue vi sommaire, this component of the thesis is not regarded as an end in itself. The major tasks of the thesis are the identification of the architectural tropes that are being evoked within each object group, analysis of the manner in which those forms have been modified to suit the miniature context of the objects, and the location of meaning within such diminutive evocations of architectural form. Through comparisons with other objects, full-size architecture, two-dimensional representations of architecture and historical texts, the thesis moves discourse on this type of motif in Islamic art beyond the traditional and sometimes superficial discussion of ‘ornament’, re-setting architectural iconography within larger contexts of urbanisation and city culture of the medieval Islamic world.
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Vernon, Yvonne B. (Yvonne Bailey). "The Effects of an Educational Program on Registered Nurse Students' Ability to Write Complete Nursing Diagnoses." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332074/.
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This study examined the effectiveness of a training program on the ability of registered nurse students to write complete nursing diagnoses. A comparison group was used as a control. There were 47 participants in the training group and 51 participants in the comparison group who received no training. Five hypotheses were used to examine the (1) complete nursing diagnoses, (2) labels, (3) clarifiers, (4) etiologies, and (5) mislabeled medical diagnoses or clinical problems as nursing diagnoses. As a pretest and posttest, participants in both groups viewed a video tape of a nursing situation and were asked to write nursing diagnoses. The training group received nine clock hours of classroom instruction on the nursing process of which three hours were on nursing diagnosis with a focus on the inclusion of label, clarifier, and etiology necessary for a complete nursing diagnosis. In the clinical component of the educational program the training group wrote nursing diagnoses as part of the nursing process. It was assumed that the comparison group did not receive comparable education. The mean difference of proportions between the pretest and posttest was computed for each group on the item tested by the hypotheses and for the difference between the two groups. Three of the five hypotheses tested in the study were accepted. The training group did have a significant increase in the average (mean) difference of proportions in the number of complete nursing diagnoses and etiologies and a significant decrease in the number of mislabeled nursing diagnoses. There was no significant difference in the number of labels and clarifiers. The training group did show a percentage increase in the number of labels and clarifiers written. There was little or no change in the comparison group over the time period of the study.
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Dietrich, Sarah Elizabeth. "A bilingual approach to the examination of writing products and processes in adults who are learning to write in their second language." Thesis, Boston University, 2001. https://hdl.handle.net/2144/33455.
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Thesis (Ed.D.)--Boston University<br>PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>Through the examination of nine participants (Spanish and Portuguese speakers) writing in Ll language and in English, I explored the following question: What do adult writers do when writing in Ll and L2? This study examined product-related features (text length, text structure, and text quality), process-related features (planning, drafting, revising, editing) in Ll and L2, as well as participants' beliefs about L2 writing, training, and the texts they produced. The study differed from earlier research in its use of multiple data sources (writing samples, think-alouds, observations, interviews) and its bilingual approach to data gathering.
Analysis of the data gathered in this study led to several major findings. Text length in L2 varied with levels of L2 proficiency. Familiarity with task and writing context led participants with high levels of L2 proficiency to write more in English than they did in Ll. However, neither L2 proficiency nor Ll text quality were found to be predictors of L2 text quality. Overall, participants planned very little, and drafting processes were found to vary across participants. Participants were less able to correct their errors and modified their texts more frequently in L2; in L2 they were more likely to engage in editing than in revising. Despite participants' efforts to modify their texts, final versions of both Ll and L2 essays contained errors of spelling, grammar, and punctuation. Finally, study participants reported feeling limited by their knowledge of L2 grammar and vocabulary, saying they felt unable to express their ideas fully in their second language.<br>2031-01-01
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Filardo, Giuseppe. "Reciprocity : where art meets the community : action research in response to artistic encounters and relationships." Queensland University of Technology, 2009. http://eprints.qut.edu.au/30153/.
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This practice-led research project examines some of the factors and issues facing artists working in the public domain who wish to engage with the community as audience. Using the methodology of action research, the three major creative projects in this study use art as a socio-political tool with the aim of providing an effective vehicle for broadening awareness, understanding forms of social protest and increasing tolerance for diversity. The three projects: Floodline November 7, 2004, Look in, Look out, and The Urban Terrorist Project, dealt with issues of marginalisation of communities, audiences and graffiti artists respectively. The artist/researcher is outlined as both creator and collaborator in the work. Processes included ephemeral elements, such as temporary installation and performance, as well as interactive elements that encouraged direct audience involvement as part of the work. In addition to the roles of creator and collaborator, both of which included audience as well as artist, the presence of an outside entity was evident. Whether local, legal authorities or prevailing attitudes, outside entities had an unavoidable impact on the processes and outcomes of the work. Each project elicited a range of responses from their respective audiences; however, the overarching concept of reciprocity was seen to be the crucial factor in conception, artistic methods and outcomes.
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AlDiab, Taisier F. (Taisier Fares). "The Impact of the Ceiling Test Write-off on the Security Returns of Full Cost Oil and Gas Firms." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc278045/.
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Kerr, Kathleen T. "A Study of the Plain Writing Act of 2010: Federal Agency, Writer, and User Appropriations of U.S. Plain Language Policy." Diss., Virginia Tech, 2014. http://hdl.handle.net/10919/50426.
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On October 13, 2010, President Barack Obama signed the Plain Writing Act of 2010 into law. It requires federal government agencies to use plain writing in all "covered" documents "the agency issues or substantially revises" (Sec. 4 (b)). The goal of the Plain Writing Act is to "enhance citizen access to Government information" (Introduction) and improve government operations and accountability "by promoting clear Government communication the public can understand and use (Sec. 2). This dissertation examines what plain language, as the Act defines it and the U.S. federal government (USG) is implementing it, means and does at the various levels of language policy -- institutional, writer, and user.
I argue that "real" plain language policy differs from the policy documented by the Plain Writing Act of 2010. While plain bureaucratic writing can help to make government documents more understandable for users, plain writing alone cannot achieve the Act's goals. Plain writing is a style of writing. As such, it is not only contingent, but it is also subjective and based on preference, which is impossible to legislate. Hence, plain bureaucratic writing is and does different things at different levels of language policy. Moreover, institutional- and writer-level representations of plain bureaucratic writing are at odds with user representations in many respects. Plain bureaucratic writing for USG agencies and federal writers is another way to describe good writing in the tradition of Edited American English and "fixes" the problem of bad government writing. At the user level, understandable writing is plain writing, regardless of whether it adheres to the principles of standard written English or the plain style. Plain language legislation does not affect the work of most writers in the study or their ability to do it. Nonetheless, user participants generally prefer plain language, reporting that they are more inclined to do what a government document intends for them to do when they understand it. Efforts to enhance government communication should focus on usability instead of plain language since usability is a better measure of the extent to which plain bureaucratic writing impacts the textual government-citizen interaction.<br>Ph. D.
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Starck, Nigel, and nigel starck@unisa edu au. "Writes of Passage: a comparative study of newspaper obituary practice in Australia, Britain and the United States." Flinders University. Humanities, 2004. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20051205.171130.
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Australian newspapers in recent years have increased significantly the column space devoted to obituaries. The Sydney Morning Herald, the Australian, the Age, the West Australian, the Herald Sun, the Canberra Times, the Advertiser, and the Courier-Mail now publish them in dedicated sections, often allocating an entire page to the obituary art. Their popularity in Australia follows a pattern established during the 1980s in Britain and the United States. Australian practice has been influenced in particular by developments in British journalism, which has seen a phenomenon described by the Wall Street Journal as an odd revival
the rebirth of long newspaper obituaries. In its first incarnation, the obituary can be traced to the newsbooks of England which appeared in the 1660s, during the Restoration. It flowered in the 18th century, in the first daily newspapers and magazines; it grew luxuriant, and sometimes ornate, in the 19th century; it became unfashionable and fell into some general neglect in the 20th. Then, with the appointment of reformist editors and, particularly in Britain, the publication of bigger newspapers by an industry no longer subjected to labour restraint, the obituary itself experienced restoration. Though the momentum of renewed practice has been of mutual rapidity on three continents, there are some significant variations in its application. The American product generally favours a style faithful to news-writing principles so far as timing and content are concerned and is frequently expansive when relating the details of surviving family and funeral arrangements. In Britain, the emphasis is more on creative composition and a recitation of anecdotes, with less of a sense of urgency about news value and a consequent accent on character sketch. Both models, in recent years, have displayed a propensity for explicit appraisal and an increasing willingness to publish obituaries of those who have undermined, rather than adorned, society. Newspapers in Australia, while adopting the obituary with apparent fervour, have found their delivery of the product restrained by a lack of resources. Obituary desks in this country are staffed by a solitary journalist-editor. This has resulted in a reliance, often to an unhealthy degree, on contributions by readers. The tone of this material, with its intimacy of address and excess in sentiment, sits uneasily when appearing on the same page as obituaries syndicated from overseas sources. Contemporary obituary publication in the United States has been subjected to some scholarly analysis in terms of gender balance, identification of cause of death, and the demographic mix of its subject selection. This thesis, by means of a six-month content analysis, addresses such questions for the first time in an Australian context. In addition, it examines issues of style, origin and authorship. It finds that cause of death is identified much less than is the case in American obituary practice, that women are significantly under-represented, and that editing is sometimes haphazard. Nevertheless, the accumulated body of evidence points resolutely to a remarkable reinvigoration of practice in Australias daily newspapers. The thesis, by discussing the views of specialists in the field of obituary publication, pursues mechanisms for sustaining the momentum and for improving the product.
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Starck, Nigel. "Writes of passage a comparative study of newspaper obituary practice in Australia, Britain and the United States /." Connect to this title online, 2004. http://catalogue.flinders.edu.au/local/adt/public/adt-SFU20051205.171130/index.html.
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Heusser, Martin. "The gilded pill : a study of the reader-writer relationship in Robert Burton's Anatomy of Melancholy /." Tübingen : Stauffenburg, 1987. http://catalogue.bnf.fr/ark:/12148/cb35456218v.
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Alshabani, Waleed Mohammad. "An investigation of the effects of SFAS No.121 on asset impairment reporting and stock returns." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc3068/.
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Prior to Statement of Financial Accounting Standards No.121 (SFAS No.121): Accounting for the Impairment of Long-Lived Assets and Long-Lived Assets to Be Disposed Of, managers had substantial discretion concerning the amount and timing of reporting writedowns of long-lived assets. Moreover, the frequency and dollar amount of asset writedown announcements that led to a large “surprise” caused the Financial Accounting Standards Board (FASB) and the Securities and Exchange Commission (SEC) to consider the need for a new standard to guide the recording of impairment of long-lived assets. This study has two primary objectives. First, it investigates the effects of SFAS No.121 on asset impairment reporting, examining whether SFAS No.121 reduces the magnitude and restricts the timing of reporting asset writedowns. Second, the study compares the information content (surprise element) of the asset impairment loss announcement as measured by cumulative abnormal returns (CAR) before and after the issuance of SFAS No.121. The findings provide support for the hypothesis that the FASB's new accounting standard does not affect the magnitude of asset writedown losses. The findings also provide support for the hypothesis that SFAS No. 121 does not affect the management choice of the timing for reporting asset writedowns. In addition, the findings suggest that the market evaluates the asset writedown losses after the issuance of SFAS No. 121 as good news for “big bath” firms, while, for “income smoothing” firms, the market does not respond to the announcements of asset writedown losses either before or after the issuance of SFAS No. 121. The findings also suggest that, for “big bath” firms, the market perceives the announcement of asset impairment losses after the adoption of SFAS No. 121 as more credible relative to that before its issuance. This could be because the practice of reporting asset writedowns after the issuance of SFAS No. 121 is under the FASB's authoritative guidance, which brings consistency and comparability in asset impairment reporting.
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Tew, Philip. "The Gift of Death, or, Beyond the Beneficent Spider : a novel & associated critical exposition." Thesis, Brunel University, 2016. http://bura.brunel.ac.uk/handle/2438/13750.
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This thesis has three main sections, the first a full-length novel entitled The Gift of Death, the third the bibliography and two appendices. The second contains variously: a preface; a critical exposition/analysis of the preceding novel with subsections, considering in conceptual fashion three central themes: death considered through symbolic, ideological and other meanings; a positioning of the academy in the ‘Campus’ novel sub-genre; and a socio-cultural analysis of fiction as a field of production and associated struggles for entry determined by class, origin and periodic cultural preferences. The Gift of Death concerns a sixty-year-old’s attempt to write a novel. Procrastinating English scholar, archetypal baby-boomer Jim Dent, revisits the thwarted ambitions of youth. Inspired by novelist Sue Townsend’s death, once a friend, Jim recalls knowing other aspirant artists—writers and film-makers— living and dying in obscurity. He reflects upon a troubled past, on unsatisfactory elements of the present and the increasingly daunting task of composition. The Gift of Death reworks the tradition of the campus or varsity novel, detailing lives tied to the rhythms of the academy. The chapters explore various eccentrics whose lives Jim traces through tentative, inadequate notes. Expanding such recollections the narrative includes: schooldays; postgraduate studies and school-teaching in Leicester; a voyage to interview Basil Bunting; and friendships with oddball alcoholics writers, Cedric and Challis, never satisfied or fully recognized creatively. Finally, overwhelmed by self-doubt, Jim abandons his Sisyphean task. Reflecting upon failure, an unexpected turn of events associated with visiting Bunting emerges in the present, offering resolution of sorts. The Gift of Death’s primary themes/contexts are: self-reflexive, multi-chronic form; death, loss and mourning; the baby-boomer generation; struggling for professional entry into the field of fiction; lost provincial and local creativity; the juxtaposition of past and present; loyalty, friendship and memory; parental conflict; and finally procrastination and disappointment.
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Silva, Adriana Naomi Fukushima da [UNESP]. "Programa Ler e Escrever e o ensino de atos de leitura por professores do ensino fundamental." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/147998.
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Previous issue date: 2016-12-09<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)<br>Este trabalho relata pesquisa que teve por objetivo geral analisar os processos de ensino dos atos de leitura por professores dos três anos iniciais do Ensino Fundamental, por meio do Programa Ler e Escrever, implantado pela Secretaria da Educação do Estado de São Paulo. Os objetivos específicos são: compreender as representações, metodologias utilizadas para ensinar a leitura e as práticas de ensino de atos de leitura dos professores, quando eles usam o material do Programa Ler e Escrever, especificamente nos três primeiros anos do ensino fundamental de uma escola estadual da cidade de Marília; desvelar processos de leitura em seus aspectos, e como os sujeitos se relacionam por meio de sua história e de suas experiências com essa prática cultural; e, por fim, provocar, entre os professores, a reflexão sobre suas práticas e avaliações, uma vez que essas práticas estão diretamente ligadas à formação do aluno leitor. Para isto, à luz do referencial teórico bakhtiano e através de uma pesquisa de tipo etnográfico, os dados foram levantados em duas etapas. A primeira foi o levantamento bibliográfico para orientar as observações da pesquisadora e fornecer elementos teóricos para a análise dos dados. A segunda etapa foi caracterizada pela geração de dados por meio de observações, entrevistas e análise documental com o intuito de encontrar informações mais detalhadas e subjetivas a respeito das atividades praticadas no ensino do ato de ler e compreender essas atividades no contexto da instituição de ensino e das práticas das professoras com a utilização do material do Programa Ler e Escrever. Os dados foram gerados em uma escola estadual da cidade de Marília, com três professoras das turmas do primeiro ano ao terceiro ano do ensino fundamental, nos meses de maio a setembro de 2015. Os dados foram transcritos e analisados com base em cinco núcleos temáticos: Os atos de leitura na sala de aula: entre concepções e ações, Gêneros discursivos na sala de aula, Os registros de uma forma já superada de escrita no contexto atual da sala de aula, Transmissão vocal ou vocalização de histórias, e Tarefas e avaliações de leitura na sala de aula. A análise permitiu verificar que entre as concepções de leitura disponíveis na sala de aula a predominante no ensino dos atos de leitura realizada pelas professoras é a concepção de leitura ligada à área fonológica. O material do Ler e Escrever, ainda que defenda o ensino da leitura como atribuição de sentidos, também apresenta propostas que valorizam o valor sonoro das palavras. Nessas condições, as propostas ligadas à área fonológica são as utilizadas pelos professores. Nas demais, as professoras adaptam as atividades de acordo com suas crenças e concepções. De modo geral, é possível concluir que as práticas de ensino, quando envolviam a utilização do Ler e Escrever, não seguiam as concepções defendidas nesse material, mas a do professor.<br>This paper describes research that aimed to analyze the educational processes of the acts of reading by teachers of the first three years of elementary school through the Read and Write Program, implemented by the São Paulo State Education. The specific objectives are: understand representations, methods used to teach reading and practices acts of reading of teachers, when they use the material Program Read and Write, specifically the first three years of elementary school a state school in the city of Marília; reveal reading processes in their aspects, and how subjects are related through their history and their experiences with this cultural practice; and, finally, induce, between teachers, reflection and reviews on their practices, as these practices are directly related to the formation of the reader student. For this, the light of Bakhtin theoretical framework and through an ethnographic research, data were collected in two stages. The first was the literature to guide the observations of the researcher and provide theoretical elements for data analysis. The second stage was characterized by the collection and generation of data through observations, interviews and document analysis in order to find more detailed and subjective information about the activities practiced in teaching reading and understand these activities in the context of the educational institution and practices of teachers using the material Read and Write Program. Data were collected at a state school in the city of Marilia/ SP, with three teachers of the classes of the first year to third year of elementary school in the months of May to September 2015. Data were transcribed and analyzed based on five themes: The acts of reading in the classroom: between ideas and actions, Discursive Genres in the classroom, The records in a way already overcome written in the current context of the classroom, Voice transmission or vocalization stories and Tasks and reading assessments in the classroom. The analysis shows that between concepts of reading available in the classroom, the prevailing teaching of the acts of reading done by the teachers is reading conception linked to phonological area. The material of Read and Write, even to defend the teaching of reading as an attribution of meaning, also makes proposals that value the sound value of words. Under these conditions, the proposals related to phonological area are used by teachers. In the other, the teachers adapt activities according to their beliefs and conceptions. Overall, we conclude that the teaching practices when involving the use of Read and Write, did not follow the ideas defended in this material, but the teacher’s.<br>CNPq: 131036/2015-7
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Bohanan, Ronal L. ""This Fundamental Lack": Stories." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862808/.
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This short story collection includes five original works of fiction, three of which make up a trilogy titled "The World Drops Beneath You," which follows the life of James McClellan from 1969 in Texas until roughly 2009, when he is struggling to care for his wife, who suffers from Alzheimer's disease. One of the two remaining stories, "She Loved Him When He Looked Like Elvis," prominently features James McClellan's parents and is set approximately eight years before the start of the trilogy. Each of the stories is concerned with blue-collar families trying to make their way in postindustrial America and the forces that buffet them, including some brought on by the choices they make.
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Maldonado, Luciano Burti. "Limites do poder de fiscalização: construção do conceito de abuso do poder de fiscalização e identificação da melhor estratégia processual para combatê-lo." reponame:Repositório Institucional do FGV, 2016. http://hdl.handle.net/10438/17206.
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Previous issue date: 2016-09-12<br>This study aims to define the limits of tax inspection power and thus, build the concept of abuse of the tax inspection power under Articles 195 and 196 of the National Tax Code, as well as defining the best legal strategy to fight it. Having this objective in mind, we will analyze the tax legislation regarding the supervisory procedures, especially at the federal level and the São Paulo State Finance. In order to understand the power of tax inspection, we will also make use of specialized doctrine on the subject. Once defined the inspection procedure rules and the power of the tax authorities, we will build the concept of abuse of tax inspection powers. Accordingly, in addition to the proposal for a normative concept we will also try to identify a pragmatic concept. Therefore, we investigate the perspective of taxpayers and the placement of administrative and judicial jurisprudence. The analysis of administrative and judicial jurisprudence in addition to assisting us in building the concept of abuse of the Inspection power under the pragmatic approach will also allow us to identify the strategies used by taxpayers to fight abuse of the oversight inspection power and, hence, define the best strategy to fight it, that is, whether during or after the tax inspection procedure and or through administrative defense or prosecution lawsuit.<br>O presente trabalho tem por objetivo definir os limites do poder de fiscalização e, desta forma, construir o conceito de abuso do poder de fiscalização à luz dos artigos 195 e 196 do Código Tributário Nacional, bem como definir a melhor estratégia processual para combatê-lo. Diante do objetivo pretendido, faremos a análise da legislação tributária sobre os procedimentos de fiscalização, notadamente no âmbito federal e da Fazenda do Estado de São Paulo. Para o entendimento do poder de fiscalização também lançaremos mão da doutrina especializada sobre o assunto. Uma vez delimitadas as regras referentes ao procedimento de fiscalização e o poder do Fisco, construiremos o conceito do abuso do poder de fiscalização. Nesse sentido, além da proposta de um conceito normativo, também tentaremos identificar um conceito pragmático. Para tanto investigaremos a perspectiva dos contribuintes e o posicionamento da jurisprudência administrativa e judicial. A análise da jurisprudência administrativa e judicial além de nos auxiliar na construção do conceito de abuso do poder de fiscalização sob a perspectiva pragmática também permitirá definir as estratégias utilizadas pelos contribuintes para combater o abuso do poder de fiscalização e, desta forma, a partir de referida análise poderemos definir a melhor estratégia para combatê-lo, isto é, se durante ou após o procedimento de fiscalização e se por meio de defesa administrativa ou ajuizamento de ação judicial.
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Martins, Fayad Marilda. "L'idiot de la famille et ses leçons : Sartre, un penseur pour aujourd'hui." Thesis, Besançon, 2016. http://www.theses.fr/2016BESA1007/document.
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L’Idiot de la famille est complément de Questions de Méthode. Sartre demande dans Questions de Méthode un changement de langage. Il s’agira dans cette thèse de déchiffrer l’écriture sartrienne en ses nuances, détails et couleurs. En d’autres mots, il s’agira d’étudier les livres de Sartre pour trouver un sens qui nous parle, là où sa parole se contredit et s’affirme en même temps. Notre tâche de relecture dans L’Idiot de la famille est ainsi d’expliciter l’axe central de la psychanalyse existentielle et d’aller chercher le sens le plus caché de la philosophie de la vie. Dans la mesure où Sartre va montrer que nous devons décider du genre de vie que nous voulons avoir, cette étude vise à éclairer pourquoi Sartre est un penseur nécessaire pour l’homme d’aujourd’hui. Il s’agira ainsi de traiter L’Idiot de la famille comme une œuvre d’apprentissage. Dans ce sens, le sens et la signification de notre recherche ne sont pas fermés et continuent ouverts à des nouvelles relectures. Notre principal objectif est aussi bien d’expliciter quel a été le fil conducteur de Sartre pour écrire L’Idiot de la famille que de vérifier si l’essence de l’écrivain peut être définie par ses écritures. Autrement dit, est-ce que les écritures montrent qui est l’auteur en tant qu’homme, ou bien pouvons-nous plutôt voir son double, celui qui parle à sa place et qui devient parole écrite ?<br>The Fool of the family is complement to the book of philosophy Questions of Method. Sartre asks in Questions of Method a change of language. It will be in this thesis to decipher Sartre writing in its nuances, details and colors. In other words, it is designed to study books from Sartre in order to find a meaning that makes sense for us, where his words are full of statements and their contrary at the same time. Our task of re-reading in The Fool of the family is to clarify the central axis of the existential psychoanalysis and point the most hidden of the philosophy of life. Insofar as Sartre will show that we must decide on the kind of life we want to have, this study aims to illuminate why Sartre is an indispensable thinker for the man of today. Thus, it will be necessary to treatThe Fool of the family as a work for learning. In this sense, the meaning and significance of our research are not closed and still opened to new readings. Our main objective is to clarify what has been the main theme of Sartreto write The Fool of the family and to check if the essence of the writer can be defined by his writings. In other words, do the writings show us who is the author as a man, or else can we rather see his double, one who speaks at his place and then become written word?
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Hounsa, Mahougnon Prudence. "Les actes juridiques privés exécutoires : droit français/droit OHADA." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100196/document.
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Les actes juridiques privés sont des titres exécutoires pour lesquels l’acte fondamental sur lequel est apposé la formule exécutoire est un acte juridique privé. C’est le cas des actes notariés, des accords homologués par un juge, des procès-verbaux de conciliation exécutoires, du procès-verbal de non-paiement d’un chèque impayé rendu exécutoire par l’huissier de justice. La loi Macron ajoute à cette famille de titre exécutoire les accords homologués par un huissier de justice pour les petites créances. La procédure d’établissement de ces titres exécutoires se déroule sans aucun contrôle juridictionnel. Dès lors, il est question de savoir si les conditions d’établissement et de mise en œuvre des actes juridiques privés exécutoires sont satisfaisantes au regard, d’une part des critères de définition et des effets du titre exécutoire et d’autre part de l’exigence du respect des droits fondamentaux aussi bien procéduraux que substantiels ? Si non, existe-t-il un remède légal et/ou jurisprudentiel à cette insuffisance ? Celui-ci le cas échéant, est-il satisfaisant ?<br>The private legal acts are writs of execution for which the fundamental act on which is affixed the enforceable formula is a private legal act. It is the case of notarial acts, agreements approved by a judge, enforceable reports(fines) of conciliation, by report(fine) of nonpayment of an unpaid check made enforceable by the bailiff. The law Macron adds to this family of writ of execution the agreements approved by a bailiff for the small claims(debts).The procedure of establishment of these writs of execution takes place without any jurisdictional control. From then on, it is about to know if the conditions of establishment and implementation of the enforceable private legal acts are satisfactory in the look, on one hand the criteria of definition and effects of the writ of execution and on the other hand the requirement of the respect for the fundamental rights so procedural as substantial? If not, there is a legal and/or case law remedy in this insufficiency? Is this one where necessary, satisfactory?
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Wolkart, Erik Navarro. "Mecanismos de objetivação do processo." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/5566.
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Previous issue date: 2011-05-18<br>The present dissertation has as its aim of study, firstly, the definition of the main features of what is considered a civil procedure objectification mechanism.Then, the study analyses procedural aspects, benefits and vicissitudes of several procedural law concepts, which can be defined as mechanisms of civil procedure objectification. These previous steps lead to the conclusion that the opening of the aforementioned mechanisms and the adoption of clear rules for the Courts precedents adaptability are essential for the compliance with the Constitutional civil procedural law theory"<br>O presente trabalho traz como objeto de estudo, em primeiro lugar, a definição das características do quem vem a ser um mecanismo de objetivação do processo. Após, analisa aspectos processuais, virtudes e vicissitudes de diversos institutos que possam ser assim classificados. Por fim, conclui pela necessidade de abertura do procedimento e adoção de formas claras de flexibilização de precedentes para que haja o necessário enquadramento desses mecanismos no modelo constitucional de processo civil
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Micke, Marina Kai-Ina. "'Wechselschritt zwischen Anpassung und aufrechtem Gang' : negotiating the tensions between literary ambition and political constraints at the Institut für Literatur 'Johannes R. Becher' Leipzig (1950-1990)." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/wechselschritt-zwischen-anpassung-und-aufrechtem-gang-negotiating-the-tensions-between-literary-ambition-and-political-constraints-at-the-institut-fur-literatur-johannes-r-becher-leipzig-19501990(c259d032-f129-4373-a6ef-f8acaf48c4c0).html.
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This thesis explores how the Institut für Literatur ‘Johannes R. Becher’, an East German institution for the training of writers, negotiated tensions that arose from the conflicting demands between literary and political values. The Institute had the objective to foster emerging literary talents according to the socialist ideal of a working writer, but often found students and staff drawn towards more autonomous literary values that were incompatible with the views of the East German Socialist Unity Party. As a result, the Institute’s practices fluctuated between toeing the party line and pursuing literary ambitions. An overview of the existing scholarship shows that the Institute and its function have been highly politicised and hardly subjected to analyses that allow for a more nuanced appraisal of its practices. As a result, the study of the Institut has not been able to transcend the binary differentiation between assent and dissent and the Institute is either presented as a liberal haven or an orthodox academy with little artistic value. This thesis addresses this issue by applying Bourdieu’s’ theory of cultural production, more specifically his notion of field, capital and habitus, to the study of the Becher Institute. Three case studies that form the core of this dissertation investigate how cultural capital in its institutionalised, embodied, and objectified form was accumulated, converted and exchanged by the Institute, how it tried to reconcile the tensions between cultural policy and creative aspirations and how these tensions affected the Institute’s common habitus. The first case study will show how the Institute’s founding shaped the institutionalised capital it represented and question the importance that has been attributed to prominent political figures during the founding process. The second case study examines the role of the lecturer and the influence their embodied capital had on the Institute. Two lecturers, working writer Werner Bräunig and poet Georg Maurer, and their representation of the Institute’s multiple habitus will be the focus of the analysis. The third and final case study is dedicated to objectified cultural capital in the form of the Institute’s publications during the 1970s. The Institute’s orthodox publications have so far been overlooked by scholars in favour of its more controversial literary output, which gives a misleading impression of the Institute’s literary output that I aim to amend. By developing a sociological framework for the study of the Institute, this thesis is able to investigate the Institute and its practices as a social and literary space under the watchful eye of the Socialist Unity Party, without denying its pedagogical and cultural dimensions. The findings will reveal a deeply conflicted institution that struggled throughout its existence to resolve the tensions between literary ambitions and political restraints as well as the contradictions within the literary field itself.
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Uddenberg, Molly. "Metafor - en metod att göra det privata personligt." Thesis, Linnéuniversitetet, Institutionen för fysik och elektroteknik (IFE), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-28051.
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In this study I have met three authors in a dialogue seminar on their literary work. The discussion, starting from texts by Lacan and Socrates, revolved around the dichotomy of personal and private, and how to benefit from personal material in one’s literary work. The three authors reflected on the writer Karl Ove Knausgård and the photographer Sally Mann, who both are working with their own immediate family as a motif. In Knausgård, you can find a strong and self-dissecting writer persona as a medium of creating recognition in the readers mind. In Sally Mann the metaphorical dimensions of this family motifs transforms them to images of much more general relevance than their private settings. On the subject of truth and story I also reflect on the different approaches that the authors Primo Levi, Viktor Frankl and Imre Kertész have on their experiences of the Holocaust. Finally the importance and relevance of metaphors as a way of getting a touch of one’s own private material is starting to be investigated.<br>I det här arbetet har jag samlat tre författare i olika genrer till ett dialogseminarium om sin arbetsprocess. Samtalet, som utgick från texter av Lacan och Sokrates, kretsade mycket kring författarens arbetsvillkor och de olika metoder som författarna använder sig av för att hitta sin frihet i förhållande till dem. I samtalet blev det uppenbart hur beroende alla författarna är av en förstående medarbetare. Okunskap och felläsning från en dramaturg eller redaktör kan bokstavligt talat bli förödande. Dialogmötet kom att kretsa kring frågeställningar om hur man skiljer privat och personligt. Vi diskuterade författaren Karl Ove Knausgård och fotografen Sally Mann, som båda jobbar med sin egen familj som motiv. Genom att Knausgård använder sig själv som en roll visar han på en möjlighet att närma sig ett eget material. Hos Sally Mann är det istället de metaforiska dimensionerna i de vardagliga motiven som gör sig tydliga. Också i Imre Kertész skildring av förintelsen förvandlas den till något större: en metafor för hur ödet och slumpen kan påverka våra liv. Hans berättelse blir på det sättet mindre beroende av vad som är sant, än skildringarna av två andra överlevare från Auschwitz: Primo Levi och Viktor Frankl. Vilket inte betyder att de andras texter saknar metaforisk styrka. Avslutningsvis går uppsatsen in på författarnas sätt att använda metaforen som ett verktyg för att berätta. Metaforen är alltid en bild av någonting annat, den skapar en fördjupning och oförväntad igenkänning hos läsaren. Den ger också möjligheter för konstnären/författaren att berätta saker som hen inte kan säga på andra sätt. Metaforen uppstår genom igenkänning i skapandet. Man kan välja att gå med den, eller aktivt gå emot den för att fördjupa textens eller filmens metaforiska dimension. En viktig aspekt för yrkeskunnande inom konsten och författarskap är att aldrig ligga före i sitt arbete genom att oroa sig för vad omgivningen ska tycka och tänka. Då finns det en risk att man blir en feg konstnär, vilket är förödande för ens skapande.
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Britt, Deirdre H. "Write : the book, the codex, the corpus." Thesis, 2005. http://hdl.handle.net/10125/12091.
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Polonyi, Eszter. "Ghost Writer: Béla Balázs's Hauntology of Film." Thesis, 2017. https://doi.org/10.7916/D8VM4QJC.
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The Hungarian-born Béla Balázs was an integral part of the film and media culture of the 1920s and 1930s. He is widely recognized as the author of three books of film theory. The three books are regularly excerpted in anthologies, two of them recently appeared in English translation (the third was translated in the 1952), and they have been the subject of several article-length studies. Few treatments of Weimar film and media fail mention them, even if only in passing. As unavoidable as Balázs has become, his books rarely withstand close analysis. Scholars tend to discuss his work in order to demonstrate the limits of “early” statements on film and often use Balázs as a foil to other, more conceptually mature film theorization. As a film theorist, Balázs did not amount to much. Still, no one has ventured an alternative lens through which to understand this seminal figure.
This dissertation treats Balázs from the viewpoint of film production. While posterity has looked to Balázs to establish coherence within our conception of “classical” film aesthetics, his contemporaries had other reasons to read his work. During the 1920s, Balázs collaborated with several of the practitioners responsible for making the most definitive films of the Weimar era. He worked on approximately two dozen sets during this decade. His opinion was sought out by major production companies. His name was recommended for a range of genres. The films on which he worked had afterlives in remakes. He was invited to film schools, research labs and film congresses. Because of his skill set, Balázs was often brought in at pivotal junctures in film production. More than once his intervention rescued a film from financial ruin or censorship. The prominent name Balázs made for himself was made on the ground and in the film studio.
The skills Balázs brought to the studio were related to his practice as literary author. The first chapter of the dissertation demonstrates that English-language scholarship has consistently ignored Balázs's literary work. Reviewing his reception within the discourse of the history of early film theory and Area Studies, it proposes that Balázs continued to self-identify as “author” [Filmautor] with reference to his function in the film industry. It ends by introducing the aspect of film production to which Balázs arguably most contributed: the film scenario. The second focuses on the scenario. Spanning the decade during which the scenario formally emerged as an operational document, Balázs's work proved invaluable to the German film industry as it introduced a bird's eye point of view from which total control could, in principle, be asserted. In practice, however, the command the scenarist had over the image was nominal, as Balázs experienced repeatedly when encountering the final version of his film. The scenarist's lack of authority is demonstrated in the legally ambivalent status of their claim to the film, as demonstrated by a discussion of Berthold Brecht's copyright dispute over Balázs's co-authored adaptation of his Threepenny Opera play. As with Brecht, Balázs's point of view as author gave him a false impression of command over image production. No matter how meticulous his plan for the film, the image on screen inevitably differed from his imagined version.
Balázs's film aesthetics must be read with reference to his work as scenarist. Balázs repeatedly stresses that the film image is embodied. The last two chapters investigate the significance of the female body to this conception of film. One chapter responds to a crucial insight by the historian Erica Carter who proposes to read his books with reference to the phenomenon of the New Woman, a figure of emancipation she finds among his literary colleagues and partners. Broadening the range of work surveyed to include his literary and theatrical production in Hungarian, the chapter argues that while Balázs often forged literary partnership with women, he treated then not as equals so much as vessels, mediums of material surfaces for his intellectual and aesthetic expression. The brutal disregard Balázs had for his female partners is demonstrated in the final chapter with a close reading of a film scripted by Balázs, Miss Else (1929). Miss Else was the final film in a series of collaborations between Balázs and the Austrian actress Elisabeth Bergner. The film is a psychological portrait of a young woman who is emotionally and mentally destroyed by a set of instructions she receives in a telegram. Hit by a sudden bout of “hysterical” voicelessness, Else is demonstrated to mimic the condition of the silent film actress whose ability to act is destroyed by the fragmentary narrative format of the scenario.
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Matos, Rita Fernandes de. "A relação do writer e do street artist com as galerias de arte: análise do perfil do writer e do street artist português." Master's thesis, 2015. http://hdl.handle.net/10071/10983.
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O graffiti e a street art são movimentos que na sua essência ocorrem na rua e no espaço público, num formato, sobretudo, ilegal. Contudo, ao longo dos últimos anos tem-se assistido, a nível global e também em Portugal, a uma visível domesticação e institucionalização de ambos os campos por parte de outras entidades, como sejam o poder local ou organismos privados, atribuindo a estas práticas um cariz legal. Esta nova configuração também se verifica no âmbito do mundo da arte contemporânea com a presença mais assídua de artistas relacionados com estes campos, bem como das suas obras no mercado de arte, nomeadamente nas galerias de arte.
Esta investigação teve como objetivos compreender qual a relação que street artists e graffiti writers portugueses têm com as galerias, o que os afasta e o que os aproxima destes espaços e como assistem estes a uma cada vez mais manifesta institucionalização de ambos os movimentos. É indubitável, para esta investigação, que esta nova configuração dos campos teve consequências na atuação destes artistas tal como foi evidenciado pelas dez entrevistas realizadas a street artists e graffiti writers portugueses. Em virtude da fase do ciclo de vida em que se encontravam, da formação académica que detinham, do seu habitus social e motivados pela possibilidade de obter rendimento da sua arte, estes aceitam, agora, estar presentes em espaços e eventos de cariz legal, mantendo contudo uma assertiva preferência de atuação em espaço público.<br>The graffiti and street art are two movements that occur in the street and in public places, in a way, mainly, illegal. However, over the past few years we have seen globally as well as in Portugal, a visible domestication and institutionalization of both fields by other entities such as local power or private bodies, attributing to these practices a legal nature. This new configuration is also true within the world of contemporary art with the more regular presence of artists related to these fields, as well as their works in the art market, particularly in art galleries.
This research aimed to understand what the relationship that Portuguese street artists and graffiti writers have with galleries, what pulls them away and draws them near from these spaces and how they watch the institutionalization of both movements. Undoubtedly, for this investigation, this new configuration of these fields had consequences in the performance of
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these artists as can been confirmed in the ten interviews with Portuguese street artists and graffiti writers. Due to the phase of the cycle of life they were in, the academic training they held, their social habitus and motivated by the possibility of obtaining income from their art, they would accept to be present in spaces and legal-oriented events, keeping however an assertive preference to act in public space.
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Stassinos, Elizabeth Diann. "Ruthlessly : Ruth Benedict's pseudonyms and the art of science writ large /." 1998. http://wwwlib.umi.com/dissertations/fullcit/9824301.
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Stephens, La Tasha René. "My journey to an artist : I’m not a writer-- but I got a story to tell." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-940.
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This thesis tracks my journey as an artist as I developed personally and as my
performance piece moved from conception to implementation. The story begins with
what I understood to be a lack of material written for and about a specifically targeted
audience. The thesis goes on to discuss how that need could be met, how I could be the
catalyst for change and how that process could change my life forever. I have also
included my experience as a solo performer whose previous training had prepared me
only for collaboration with other actors. This thesis also discusses my process of creating
and developing I’m not a writer… but I got a story to tell and concludes with reflections
on my final performance.<br>text
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Kirk, Rachel Anne. "Contradictions Between How Students Are Taught to Write And What They Are Expected To Read In General Education Courses." 2011. http://trace.tennessee.edu/utk_graddiss/987.
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This study explored the relationship between how students are taught to write in first-year English composition classes and what they are expected to read as part of the general education requirements at a publically-funded large university in the southeast (PLUS), and then to determine whether a gap exists. If a gap is found to exist between the preparation of students and their ability to read material that has been assigned by the teaching faculty, these students are less likely to be considered information literate by any rubric.
This study uses a mixed-methods approach. Content analysis is employed to examine the assigned readings students encounter, and interviews are conducted to explore how students make sense of the academic writings assigned in general education classes. Research questions included (1) What are the overall structures of both (a) instruction composition and (b) scholarly journal articles assigned for reading in subsequent general education classes in the disciplines of psychology and history at PLUS? (2) How can these structures be identified? (3) What are the top-level structural patterns of composition within these two academic disciplines and how do they differ? and (4) Do these differences create contradictions in how students are taught to write in freshmen composition courses and the composition of the journal articles they are expected to read in their required general education classes?
Thirty-one texts taken from general education syllabi were analyzed for incidence and placement of specific structural elements such as topic sentences and signal words.
This study also explored perceptions of these differences from the standpoint of college students. Interviews of twenty-two students were conducted using Dervin’s Sense Making Methodology. These interviews were analyzed in terms of situations, gaps, bridges, outcomes, as well as thematic concepts that consistently arose during the interviews.
Significant differences existed between readings from English Composition classes and assigned scholarly journal articles in history and psychology in incidence and placement of topic sentences, use of signal words or phrases, and readability. In addition, thematic analysis of the interviews of students found that they experienced gaps between their expectations of text composition and their experience reading assigned journal articles.
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Leahman, Jill Karle. "The reasons we are singing : writer/teachers on creativity, community and issues of renewal /." 2004. http://wwwlib.umi.com/dissertations/fullcit/3135024.
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Hsieh, Sheng-Feng, and 謝昇峯. "Are impairment indicators and write-offs of capitalized acquired in-process research and development associated in the U.S. biotech and pharmaceutical industry?" Thesis, 2014. http://ndltd.ncl.edu.tw/handle/50398298880238744074.
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碩士<br>國立臺灣大學<br>會計學研究所<br>102<br>The Financial Accounting Standards Board (FASB) released a revised version of Statement of Financial Accounting Standards No. 141 (SFAS No. 141(R)) in December 2007. Accounting treatments of acquired in-process research and development (IPR&;D) in a business combination change from expensing to capitalizing as an indefinite-life intangible asset, and need to perform annual impairment test subsequently. Combining the above changes with the thriving M&;A activities trend in U.S. biotech and pharmaceuti&;#172;cal industry, this research will focus on the industry, summarize M&;A transactions including acquired IPR&;D capitalization happened in the period of 2009-2012 and inspect the appropriateness of acquired IPR&;D capitalization. Examination the association between impairment indicators and write-offs of acquired IPR&;D is also performed. Empirical results reveal that acquired IPR&;D amount and subsequent one-year operating cash flows are correlated significantly in the sample of 98 observations. Five impairment indicators are identified that being related with acquired IPR&;D impairment recogni&;#172;tion. This research also collects possible reasons that result in the impairment.
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"Modernity and marginality: The destruction and renovation of the Latin American city and writer in the chronicles of Joao do Rio, Lima Barreto, and Roberto Arlt." Tulane University, 2003.
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In this dissertation, 'Modernity and Marginality: The Destruction and Renovation of the Latin American City and Writer in the Chronicles of Joao do Rio, Lima Barreto, and Roberto Arlt,' I will examine modernity and the changing role of the writer in the early twentieth century. I will argue that the Latin American chronicle, as a hybrid literary form, best represented the efforts and conditions of the socially engaged professionalized writer of the period in question Joao do Rio, Lima Barreto, and Roberto Arlt experienced different degrees of marginality due to racial and class-based origins. They were salaried journalists who depended on newspapers for their livelihood. Aware of their status as wage-earning specialists, they were nonetheless driven by a determination to use their artistic abilities to fight against the economic system and against bourgeois society. Refusing to accept the complete separation of writing from political radicalism, they fought to insert themselves in society as subjects rather than as mere objects, encouraging a cultural transformation through everyday experiences. The comparison of their works also lends itself to a comparison of the two largest South American cities of that time, Rio de Janeiro and Buenos Aires Given the striking parallels between these three authors, I will argue that the chronicle was a particularly useful vehicle through which they could express themselves artistically and communicate with the common man in the universal context of a new, modern culture that cut across national, linguistic, and class-based lines<br>acase@tulane.edu
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Costa, Raquel Matos da. "Graffiti & Street art: a relação dos criadores de arte na rua com as novas tecnologias de informação e comunicação (dispositivos e plataformas online)." Master's thesis, 2016. http://hdl.handle.net/10071/12806.
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Tal como muitas das práticas artísticas também o graffiti e a street art estão cada vez mais em rede - online. Esta tendência de crescente mediação de um fenómeno que tem na sua génese e na sua conduta uma estreita ligação com a rua, parece despertar cada vez maior interesse de investigadores, requerendo um estudo dos desafios e potencialidades lançados por uma ordem tecnológica em constante mudança e novas apropriações da mesma.
A presente dissertação teve como principal objetivo perceber a forma como graffiti writers e street artists portugueses utilizam as novas tecnologias da informação e comunicação –dispositivos, internet e redes sociais, enquanto plataformas privilegiadas para inspiração, criação e mediação das suas obras. Pretendeu-se compreender, em certa medida, a importância da utilização ou não destas tecnologias por parte dos mesmos, enquanto recurso de expansão e visibilidade na sociedade contemporânea. Por último, foram identificadas as razões e motivações para optarem por aderir, ou não, a este espaço online.
Através de uma metodologia baseada numa estratégia de investigação qualitativa, com recurso a documentação, observação online, offline e entrevistas semi-estruturadas, procurou-se compreender a perspetiva dos graffiti writers e street artists portugueses em relação à apropriação das novas tecnologias e quais as suas formas de navegação neste universo.
Neste percurso reflexivo pudemos constatar uma divergência entre os testemunhos destes criadores urbanos, em relação à sua participação digital e presença das suas obras na rede online. Por um lado, os que manifestaram a sua desaprovação por esta mutação dos movimentos urbanos e consequentes atitudes online, defendendo que o graffiti e a street art são para ser vistos e mantidos na rua. Por outro, os de opinião favorável, defendem que a presença digital leva o graffiti e a street art ao seu maior reconhecimento, não temendo uma evolução destas culturas/subculturas. Esta dissertação aborda e explora factores influenciados por uma apropriação digital em constante crescimento.<br>Just as many artistic practices, graffiti and street art are also increasingly present in an online network. This tendency of increasing mediation of a phenomenon that has in its genesis and in its conduct, a close link with the street, seems to awaken a growing interest of researchers, requiring a study of the challenges and potentialities introduced by a changing technological order and new appropriations of the same.
This thesis aimed to understand how graffiti writers and street artists utilize new information and communication technologies, including internet and social media networks as privileged platforms for inspiration, creation and mediation of their work. It was intended to comprehend, to some extent, the importance of the use or not, of these technologies by the same, as expansion and visibility resources in contemporary society. Finally, the reasons and motivations for choosing or not to join this online space are identified.
Through a methodology based on a qualitative research strategy, using documentation, online and offline observation and semi-structured interviews, we try to understand the perspective of theses urban actors on the appropriation of new technologies and which are their forms of navigation in this universe.
In reflexive path we could verify differences between the testimonies of graffiti writers and street artists in relation to their digital participation and presence of their works in the online network. On one hand, those who expressed their disapproval regarding such change of urban movement and consequent attitudes online, arguing that graffiti is to be seen and kept on the street. On the other hand, those of favorable opinion, argue that the digital presence takes graffiti and street art to its highest recognition, not rejecting the evolution of these cultures / subcultures. This paper discusses and explores factors influenced by a constantly growing digital appropriation.
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Šulcová, Eva. "Role pisatele ve vybraných autotematických románech." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-328833.
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The role of a writer in selected metafictional novels Bc. Eva Šulcová Abstract This diploma thesis deals with the genre of metafictional novel. The aim of the diploma thesis is to identify various internal motivations for the usage of metafiction technique in literature and to describe the role of a writer. The first part summarizes the theoretical background of the genre and formulates some characteristic features of metafictional novel (emphasized vicariousness of the narrative, reflection of the creative act, personality of the writer, or the problematized relationship between reality and fiction), which were all illustrated by the analysis of André Gide's novel The Counterfeiters. The second part consists of interpretations of three metafictional novels. The interpretations aim at a complex analysis of the author and at a description of various functions of the metafiction technique as a constituent of the work's meaning. Gide uses metafiction to display the discrepancy between reality and illusion, thus uncovering hypocrisies of society and passing judgement on it. To Čapek, metafiction is a tool for applying multiperspectivity to his storyline, thus creating a metaphor of varying epistemic principles. Metafictional genre was further utilized by Řezáč in his novel Rozhraní to illustrate the polarity...
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Lunga, Majahana John Chonsi. "A critical analysis of Wole Soyinka as a dramatist, with special reference to his engagement in contemporary issues." Diss., 1994. http://hdl.handle.net/10500/17262.
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This dissertation is mainly on Wole Soyinka as a dramatist. It aims to show that
Soyinka, far from being an irrelevant artist as some of his fiercest critics have
alleged, is a deeply committed writer whose works are characterised by a strong
sense of concern with basic human values of right and wrong, good and evil.
Furthermore, the dissertation shows that although Soyinka is not an admirer of
Marxist aesthetics, he is certainly not in the art-for-art's-sake camp either,
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because he is fully aware of the utilitarian value of literature. Soyinka's works are
much influenced by his social and historical background, and the dissertation shows
that Soyinka's socio-political awareness pervades all these works, although it will
be seen that in the later plays there is a sharpened political awareness. Although
largely concerned with his own country's issues, Soyinka also emerges as a keen
observer of humanity universally<br>English Studies<br>M.A. (English)